Journal of Seventeenth-Century Music, volume 9 (2003) no. 1
http://www.sscm-jscm.org/v9/no1/harness.html
ISSN: 1089-747X

Kelley Harness
Le tre Euridici: Characterization and Allegory in the Euridici of Peri and Caccini

Table 1
Comparison of the settings by Jacopo Peri and Giulio Caccini based on the musical parameters of melodic range, harmonic vocabulary, and V–I cadences

1. For both ninfa and pastore categories, recitatives counted include only those designated Ninfa (Pastore) del Coro, not Coro sections in general.

2. In both the 1601 and 1608 prints of the score, Arcetro=s scene 5 speech, Come tanto dolore, is notated in soprano (C1) clef, rather than the alto (C3) clef in which the rest of the role is notated. Rinuccini’s libretto specifies only Coro, and since the recitative’s melodic range extends to d, a fourth higher than anything else Arcetro sings in the opera, the speech may have been intended for a different character. Subtracting this speech from Arcetro’s total only minimally affects the overall percentages.

Return to paragraph 3.4.